Future Tense
Deerhunter
Why Hasn’t Everything Already Disappeared? Named after late French author Jean Baudrillard’s 2007 book, Deerhunter’s eighth full-length arrives with a lot of the same existential uncertainty we’re all suffering from. Billed as “a science fiction album about the present,” the band fittingly recorded a large portion of Why Hasn’t Everything Already Disappeared? in the desolate, forgotten town of Marfa, Texas, fresh off some improvisational recording sessions Deerhunter frontman Bradford Cox did with avant-pop savant Cate Le Bon and her DRINKS partner Tim Presley.
With Le Bon involved, Deerhunter found new inspiration and an opportunity to explore uncharted territory, resulting in the exotic, Japanese-tinged synths of “Détournement,” Lockett Pundt’s “Tarnung,” which leans heavily on vibraphone and sax, and some jarring vocal edits on closer “Nocturne.” However, by retaining the help of regular collaborator Ben Allen, the band have also turned in some of the most accessible work they’ve done to date. “Death in Midsummer” is textbook Deerhunter, using guitar noise and a waltzing harpsichord to battle the anxiety of living in a fading world, while “Element” and “Futurism” express a blissfulness we’ve rarely heard from them. But the finest moment comes courtesy of James Dean’s ghost, which haunts the ebullient “Plains,” a song that sought energetic guidance from Whitney Houston’s “How Will I Know.” In the press release for Why Hasn’t Everything Already Disappeared?, it questions the relevance of an album in today’s algorithmic world; Deerhunter shouldn’t be concerned with such things. They continue to look forward and create music that feels unlike anything else out there. This one is no exception: it’s the perfect antidote for these bleak, modern times. (4AD)
definitely a more standard heavy/ power metal strain throughout the album, shaking Soilwork out of their well-established rut. Amorphis singer Tomi Joutsen’s cameo on “Needles and Kin” summarizes the change nicely. It’s a move toward the unabashed epic vibe of Kamelot, Blind Guardian or Joutsen’s own day job. The drums still clatter along like a horde of approaching Vikings, but the viciousness is not there. It’s been replaced by dual guitar harmonies and full-throated cleans that will make you think this is a Soilwork/ Iced Earth collaboration. Listeners who remember vocalist Björn Strid’s brief stint with Disarmonia Mundi will be in for some real ear candy.
Obviously, some fans will take issue with the softer direction, fearing an In Flames-style cop-out into alternative metal. But there’s nothing to fear. “Arrival” and “When the Universe Spoke” maintain the razor-sharp attack Soilwork have been known for. Yet the majority of the record’s great tracks, including “The Ageless Whisper” and “Stålfågel” (with Canada’s own Alissa White-Gluz), showcase the newer sound. Soilwork have been inching towards something like this for the last couple of releases, but rarely have they felt so unfettered. Purist fans of the melodeath scene may bemoan the
changes, but Soilwork seem to have no time for them. (Nuclear Blast) ROCK ROCK
Why have Cate Le Bon co-produce the album?
Cox: I wanted a strong female presence to block any displays of testosterone. There isn’t any testosterone in Deerhunter. [But] I have no problem saying that I feel there’s a great under-appreciation of female technical minds. I’m tired of a certain kind of male-dominated sound.
The percussion on “Plains” sounds unlike anything you’ve done before.
The entire album was finished and turned in, and “Plains” almost sounded like something off Pink Flag- era Wire or something. I thought that we could do better, and I was listening to a lot of Whitney Houston. I played an ancient white noise drum machine called a Syncussion, made by Pearl. I just decided that I wanted to spend a little more time on that one. I wanted a different arrangement, a different feeling.